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Books on the topic 'Sonic Arts and Engineering'

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Author: Grafiati

Published: 10 December 2022

Last updated: 29 January 2023

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1

Ryan, McGinness, ed. Sonic order of happiness. New York: R77, 2005.

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2

Woolman, Matt. Sonic graphics: Seeing sound. London: Thames & Hudson, 2000.

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3

D, Greene Paul, and Porcello Thomas, eds. Wired for sound: Engineering and technologies in sonic cultures. Middletown, Conn: Wesleyan University Press, 2005.

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4

Burghardt, M. David. Engineering thermodynamics. 4th ed. Centreville, MD: Cornell Maritime Press, 1999.

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5

A, Harbach James, and Burghardt M. David, eds. Engineering thermodynamics. 4th ed. New York: HarperCollins College, 1993.

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6

Bijsterveld, Karin. Sonic Skills: Listening for Knowledge in Science, Medicine and Engineering. London: Springer Nature, 2019.

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7

Mei, C. Nonlinear analyses of composite aerospace structures in sonic fatigue. Norfolk, Va: Dept. of Mechanical Engineering & Mechanics, College of Engineering & Technology, Old Dominion University, 1992.

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8

Look, Dwight C. Engineering thermodynamics. Boston: PWS Engineering, 1986.

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9

A view on structural engineering via engineering science, mathematics, philosophy, and arts. Pittsburgh, Pennsylvania: Dorrance Publishing Co., 2016.

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10

Concurrent Engineering 1995 Conference (McLean, Virginia). CE95: Concurrent engineering : a global perspective. Edited by Paul Anand J, Sobolewski Michael, and Concurrent Technologies Corporation. Johnstown, Pa: Concurrent Technologies Corporation, 1995.

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11

G, Smith D., ed. Telecommunications engineering. 3rd ed. London: Chapman & Hall, 1994.

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12

Dunlop, J. Telecommunications engineering. 2nd ed. London: Van Nostrand Reinhold, 1989.

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13

G, Smith D., ed. Telecommunications engineering. 2nd ed. London: Chapman & Hall, 1989.

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14

Dunlop, J. Telecommunications engineering. 3rd ed. London: Chapman & Hall, 1994.

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15

Sonic Integrity Testing of Deep Foundations (1987). A half day seminar, Sonic Integrity Testing of Deep Foundations: Wednesday, October 28, 1987. [Vancouver, B.C: BiTech Publishers Ltd., 1987.

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16

Robert, Klanten, and Flach Alex, eds. Lodown: Graphic engineering. Berlin: Die Gestalten Verlag, 1998.

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17

Gieck, Kurt. Engineering formulas. 6th ed. New York: McGraw-Hill, 1990.

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18

L, Leone Les, and Gunn Craig J, eds. Engineering your future: An introduction to engineering. 4th ed. Wildwood, MO: Great Lakes Press, 2004.

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19

L, Leone Les, and Gunn Craig J, eds. Engineering your future: An introduction to engineering. 3rd ed. Wildwood, MO: Great Lakes Press, 2002.

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20

Dally, James W. Introduction to engineering design. Knoxville, Tenn: College House Enterprises, 1998.

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21

Pollet, Bruno G. Power ultrasound in electrochemistry: From versatile laboratory tool to engineering solution sonoelectrochemistry. Hoboken, NJ: Wiley, 2012.

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22

1962-, Rajman Martin, ed. Speech and language engineering. Lausanne: EPFL Press, 2007.

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23

W, Batchelor A., ed. Engineering tribology. Amsterdam: Elsevier, 1993.

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24

W, Batchelor A., ed. Engineering tribology. Boston: Butterworth-Heinemann, 2000.

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25

W, Batchelor A., ed. Engineering tribology. 3rd ed. Amsterdam: Elsevier Butterworth-Heinemann, 2005.

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26

Stachowiak, G. W. Engineering tribology. 2nd ed. Boston, [Mass.]: Butterworth-Heinemann, 2001.

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27

Schwarz, Steven E. Electrical engineering: An introduction. 2nd ed. Fort Worth, Texas: Harcourt Brace, 1993.

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28

G, Oldham William, ed. Electrical engineering: An introduction. 2nd ed. Fort Worth: Saunders College Pub., 1993.

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29

Schwarz, Steven E. Electrical engineering: An introduction. Toronto: Concept Press, 1994.

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30

G, Oldham William, ed. Electrical engineering: An introduction. 2nd ed. New York: Oxford University Press, 1993.

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31

Kim-Cohen, Seth. In the blink of an ear: Towards a non-cochlear sonic art. New York: Continuum, 2009.

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32

Kim-Cohen, Seth. In the blink of an ear: Towards a non-cochlear sonic art. New York: Continuum, 2009.

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33

Kim-Cohen, Seth. In the blink of an ear: Towards a non-cochlear sonic art. New York: Continuum, 2009.

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34

In the blink of an ear: Towards a non-cochlear sonic art. New York: Continuum, 2009.

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35

Oakes, William C. Engineering your future: A brief student's guide to engineering. 2nd ed. Okemos, MI: Great Lakes Press, 2006.

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36

M, Meerkov Semyon, ed. Production systems engineering. Livermore, CA: WingSpan Press, 2007.

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37

Empirische Kunstsoziologie. Stuttgart: B.G. Teubner, 1986.

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38

Sonic graphics. Thames & Hudson, 2001.

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39

Deutsche Gesellschaft für Elektroakustische Musik Berlin., German Society of Electro-acoustic Music., and DEGEM, eds. Klangkunst in Deutschland =: Sonic Arts in Germany. Mainz: Wergo, 2000.

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40

Sonic Graphics: Seeing Sound. Rizzoli International Publications, 2000.

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41

The Fundamentals of Sonic Arts and Sound Design (Fundamentals). AVA Publishing, 2007.

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42

Sonic Modernity Representing Sound In Literature Culture And The Arts. Edinburgh University Press, 2013.

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43

Halliday, Sam. Sonic Modernity: Representing Sound in Literature, Culture and the Arts. Edinburgh University Press, 2013.

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44

Halliday, Sam. Sonic Modernity: Representing Sound in Literature, Culture and the Arts. Edinburgh University Press, 2013.

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45

Halliday, Sam. Sonic Modernity: Representing Sound in Literature, Culture and the Arts. Edinburgh University Press, 2013.

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46

Halliday, Sam. Sonic Modernity: Representing Sound in Literature, Culture and the Arts. Edinburgh University Press, 2013.

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47

Halliday, M. A. K., and Sam Halliday. Sonic Modernity: Representing Sound in Literature, Culture and the Arts. Edinburgh University Press, 2020.

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48

Schmelz, Peter J. Sonic Overload. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197541258.001.0001.

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Abstract:

Sonic Overload presents a musically centered cultural history of the late Soviet Union. It focuses on polystylism in music as a response to the information overload swamping listeners in the Soviet Union during its final decades. The central themes are collage, popular music, kitsch, and eschatology. The book traces the ways in which leading composers Alfred Schnittke and Valentin Silvestrov initially embraced and assimilated popular sources before ultimately rejecting them. Polystylism first responded to the utopian impulses of Soviet doctrine with utopian impulses to encompass all musical styles, from “high” to “low.” But these initial all-embracing aspirations were soon followed by retreats to alternate utopias founded on carefully selecting satisfactory borrowings, as familiar hierarchies of culture, taste, and class reasserted themselves. Looking at polystylism in the late USSR tells us about past and present, near and far, as it probes the musical roots of the overloaded, distracted present. Sonic Overload is intended for musicologists and Soviet, Russian, and Ukrainian specialists in history, the arts, film, and literature, but it also targets a wider scholarly audience, including readers interested in twentieth- and twenty-first century music; modernism and postmodernism; quotation and collage; the intersections of “high” and “low” cultures; and politics and the arts. Based on archival research, oral historical interviews, and other overlooked primary materials, as well as close listening and thorough examination of scores and recordings, Sonic Overload presents a multilayered and comprehensive portrait of late-Soviet polystylism and cultural life, and of the music of Silvestrov and Schnittke.

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49

Greene, Paul D., and Thomas Porcello. Wired for Sound: Engineering and Technologies in Sonic Cultures. Wesleyan University Press, 2010.

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50

O'Keeffe, Linda, and Isabel Nogueira. Body in Sound, Music and Performance: Studies in Audio and Sonic Arts. Taylor & Francis Group, 2022.

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